Facing the Face of the Other: The Case of the Nia Centre

Until comparatively recently there has been little systematic effort to record the contribution to British theatre history of the diversity represented by Black British and British South and East Asian theatre makers. That failure to ‘see’ and acknowledge this lacuna within the academy reflected what in 2001 was condemned as widespread institutional racism within the theatre industry itself. The other ‘faces’ had been rendered effectively invisible. This chapter considers the ethical and evidential challenges associated with the task of recovering the history of a project created to enhance an important concept of cultural identity: the little-documented failure in the 1990s of the Nia Centre, the UK’s first black arts centre which opened in Hulme, Manchester in 1991. My exploration raises a number of key ethical challenges: How in the aftermath of the Nia’s collapse and in the almost complete absence of archival records, is the historian to mediate what inevitably are multiple truths coming from different perspectives? Whose, and what values were, and remain, at stake both at the time of the project itself, and in the telling of the history? How does the historian deal with failure especially if the circumstances were obscure and little regarded? The dream of the Nia died more than a decade ago, but the participants in that history are very much alive and their sensitivities have to be respected as part of the ethical challenge.

The Search for the Operatic: Bridging the Gap Between the Spectatorial and Performer Positions Through Sketch-making and Embodiment Techniques

The exhibition was of sketches and a photograph from my PhD practice research. The practice-research was comprised of observing opera singers in rehearsal and sketching them as they moved. As well as records of body position, and to some degree dynamic flow, the exhibited sketches were regarded as kinaesthetic responses in and of themselves – responses to the environment of the rehearsal, in particular responding to the sounds of the orchestra. These sketches were, in part, generated through an embodiment of the music, which was occurring in the same moment as the singer was engaged in embodying the music. These sketches were then used as tools that therefore contained kinaesthetic information which could be unlocked through a process of Butoh derived embodiment techniques alongside reference to the sketched image. This ultimately allowed me to move from a spectatorial position to a performance maker position, bringing a sense of the operatic into the non-singing body, whether that was my own or the bodies of other performers. In this way, and combined with rigorous observation of the corporeal restrictions of singing operatically, choreographies were created that employed operatic ways of moving in non-singing bodies and the operatic was extracted from opera and employed in movement based practice. The aspect of the practice-research exhibited is the correspondence between sketched documentation of the singers in rehearsal and photographic documentation of the dancer (researcher) in performance.

Heroism and Adventurism: Can Applied Theatre Practices Give Participants the Experience of Being the Heroes and Heroines of Their Own Stories?

Move on Up! is part of a series of widening participation interactive Theatre in Education programmes at The University of Worcester, designed to raise educational aspirations. It was conceived for year 6 pupils about to go up to secondary school, to reflect on this transition and the challenges and pitfalls it presented to them. I searched for stimulus material to create the dynamic of an adventure story that reflected and generated the excitement and fear of change. The Mysterious Island by Jules Verne provided the structure of this classic genre with characters stranded on a desert island. Directing a team of four student actors and a stage manager I sought to promote the heroic ideal of using the skills needed to survive against adversity and to transpose it to a school context. The four characters discover talents and interests on the year 6 school trip and they endeavour to become the best version of themselves at their secondary school where these attributes have to be tested in a new environment. Using interactive voting software helped to determine whether pupils could achieve the sense of control and ownership outlined in Boal’s theatre practice. The programme provides a number of points of intervention where participants could vote and influence the shape of the character’s stories and perhaps create heroes or anti – heroes depending on the decisions they make. Boal wants participants to become the outspoken protagonists of their own stories or specactors. This paper will investigate whether applied theatre practice can give participants a heroic experience by exploring the process of creating Move on Up! and the response to the programme from year 6 pupils in West Midlands schools.

The Silent Majority: an Exploration of the Integration of Voting Software within Theatre in Education programmes

I wanted to explore whether traditional Forum Theatre approaches can be enhanced by the use of integrated voting software to empower young people. My research is based on two of a series of widening participation interactive TiE programmes focused on the decisions young people make on educational progression. I worked as a director alongside students studying Drama and Performance at The University of Worcester and the programmes have toured widely to schools across Worcestershire and Herefordshire. ‘It’s Up to You!’ (2013 – 2014) was aimed at years 8 and 9 choosing their GCSE options and ‘Move on Up!’ (2014 - 2015) looked at the hopes and fears of year 6 pupils about to go up to secondary school. Finding a voice in Boal’s framework as a ‘specactor’ does not always appeal to a pupil who does not want to stand out from the crowd or is not familiar with a classroom where drama conventions are practised or understood. The anonymity of the voting software with results of decisions made appearing instantly on screen is certainly appealing to some pupils: ‘I also loved the keypads they gave us so that we could answer the questions without having to put our hand up and wait..’ This paper aims to interrogate the idea that empowering needs to not simply be about giving voice to a few confident group members but allowing the silent majority to be able to experiment with decision making in an educational and social context.

Violetta Undone: Getting Closer to Opera By Not Making Opera

In early 2016 students at the University of Worcester were set the task of creating an adaptation of Verdi’s La traviata, a work which they knew from having seen the production by Richard Eyre live streamed from the Royal Opera House, at the Odeon Cinema in Worcester. The majority of students attested that this was their first encounter with opera and many were not looking forward to the project. This paper will describe and examine the process of adaptation and will reflect on how the mediated experience of the opera informed the final live production. It will also examine how the devisers of a new work, called Violetta Undone, considered the inclusion of musical and dramatic themes from the opera, as well as how they considered matters of relevance to contemporary audiences. The paper will furthermore consider how this process of undoing the opera not only fulfilled the requirements of the module (to learn about the processes of adaptation) but also brought the students closer to opera as an art-form. The paper will reflect on how, what was ultimately produced, not only radically deviated from what we understand as opera (as represented by the production which acted as a stimulus) but simultaneously adhered closely to the theoretical notion of gesamtkunstwerk which lies at the heart of opera theory. Additionally, questions that will be considered include: What lessons might be learned about educating drama students about opera? And how might undoing opera in a collaborative way inform dramaturgical explorations of operas?

Dancing 'Nessun Dorma'

In the 1990s and into the beginning of the 21st century, Luciano Pavarotti helped popularise opera through singing the anthem for the Italia90 soccer World Cup; through concerts with the Three Tenors, and through his inter-music-genre charity concerts, Pavarotti and Friends. In doing so, he helped bring opera, and in particular ‘Nessun Dorma’ from Puccini’s opera Turandot, to a wider audience than ever before. In Daniel Somerville’s practice-research performed presentation, which draws on his research into operatic movement, he muses on how along with positioning ‘Nessun Dorma’ as the most recognisable tune in opera, Pavarotti also instilled an idea of how opera singers move that affirms negative stereotypes of the arm-raising, hand-waving, ‘stand and deliver’ opera star, while also divorcing the aria from its original context. Dancing ‘Nessun Dorma’ seeks to restore the aria to its original literary context and to reclaim the narrative of Turandot through presenting the moving body alongside operatic and autobiographical anecdote. Movement practice participating in, and allowing, a reassessment and revisiting of an aria and narrative that sits problematically at the intersection of Orientalist fantasy and Italian pride.

Theatre History and Historiography Ethics, Evidence and Truth

This collection of essays is the first time a group of theatre historians have come together to consider the challenge of applying ethical thinking to attempts to truthfully represent the past. Topics include the life of the celebrated Restoration actor Thomas Betterton, the little-known records of hitherto forgotten women involved in Victorian theatre, amateur theatricals enjoyed by the British army in colonial India, the loss of a pioneering arts centre for African and Caribbean culture, performance art in Wales and present-day community arts in Northern Ireland. While confronting such difficult issues as the instability of evidence and the unreliability of memory, the contributors offer fresh perspectives and innovative strategies for fulfilling their ethical responsibility to the lived experience of the past.

Higher Education - Border or Boundary? Can Theatre in Education Help Promote a University Education?

With the expansion and increased availability of Higher Education the progression to study for an undergraduate degree has been viewed as a simple stepping stone with examination success a straight - forward border pass. Changes in the funding of degree courses has established a series of more challenging boundaries to entry which demand a rigorous assessment of the benefits of Higher Education. The Widening Participation Unit at The University of Worcester has sought to ease this border crossing for pupils whose parents have not been to university. Their experience from previous projects was that school pupils more easily relate to undergraduate students whose experience of Higher Education is recent and relevant. With this in mind they commissioned the Drama and Performance Department to create a Theatre in Education programme that introduced an awareness of post sixteen options and future choices to challenge Higher Education stereotypes. As a result of this collaboration Why Bother? was created, directed by myself and devised and researched with four students who were studying drama. Their own experiences were used to inform the character development and dealt with worrying as a mature student about integration into full – time education, loss of income after working, the pressures of emotional commitments to partners and being away from home. The programme toured to two thousand year 9 – 11 pupils in Worcestershire and Herefordshire schools in January and May 2011. Devising and touring Why Bother provided students with an opportunity to work as a professional paid TIE team that it is not possible for them to do as part of their undergraduate degree course. My initial research looks at the effectiveness and limitations of this project based on pupil questionnaires and the experiences of the team which are explored within the broader context of TIE and its potential for affecting attitudinal change. This has given rise to a number of questions that need consideration in the development of a new TIE programme aimed at raising the awareness of sixth form students who are about to make the decision whether to apply to university or not. Collaboration with university students in exploring the value of an education that they have subscribed to raises issues of bias and whether their powers of persuasion actually prevent pupils from making their own individual decision. The ethics of promoting a “free” university education seem much less complex than the decision required now which involves balancing the real value against the high financial cost suggested in the working title of Is it Worth it? This paper will present my first attempts to develop research methods and methodologies that will enable me to evaluate the success of this and future TIE.

No Woman's Land

Willkommen Damen and Gentlemen! Roll up, stroll in and join us on a spectacular stagger through the post-apocalyptical wasteland of 1945. Before your very eyes the bearded ladies run on treadmills as they conjure up past and present digital landscapes. Masquerading as men for your entertainment, and their own protection, the bearded duo use gallows humour to launch you on an unimaginable, unconceivable plight of flight and migration. 1945. Lucia Rippel, expelled from her place of birth, walked 220 miles across the fractured landscape of Europe, with her two children and all her belongings dragged in a cart. In 2015, Ildikó Rippel and Rosie Garton retraced her footsteps, crossing borders, climbing fences, bleeding, crying, and blistering, and carrying their flat-pack children. No Woman’s Land is a politically charged, darkly humorous nod to 1920’s Kabarett, entwining the duo’s experience of the walk with Lucia’s story.